9 of the best 909 tracks using the TR-909

With Roland teasing a remake of the TR-909 earlier last week, Mixmag took a look back at some of the best tracks produced using the influential drum machine.

The TR-909 played an important role in the progression of the music industry, with producers of all genres choosing to use the hardware to create the core percussive elements that lay at the foundation of a track. When it was released in the mid-80s it opened up a world of possibilities for creatives at the time and now, over 30 years later, it’s still being used in the studio. For those that want to get that distinct analogue touch, there’s nothing quite like it.

In chronological order, here are some of the most innovative tracks produced using the TR-909.

During the ‘80s, Mr Fingers, also known as Larry Heard, was a pioneering artist who helped establish the foundation of house music. A crucial record during the early days, ‘Can You Feel It’ is regarded by many as one of the very first house records and, thanks to the TR-909, helped cement the 4/4 beat firmly at the heart of dance music culture. Trax Records released the ballad 1986 and it spread throughout Chicago, strongly influencing the music that would take over the city’s club scene.

Arguably, the track that helped launch Derrick May’s career in 1987, ‘Strings Of Life’ has withstood the test of time as it’s still getting played regularly in clubs around the world. The track, which began as a piano melody created by May’s friend Michael James, would not be the classic anthem that it is today without the unique touch of the TR-909. Many fans and critics alike tend to focus on the piano variation, which is brilliant, but the core rhythm is what brings it all together and is why the track has been so effective on the dance floor.

‘Big Fun’, released in 1988, is the debut single from Inner City, the dance music group formed by Kevin Saunderson. In an interview, Saunderson recalled how he was in the studio with James Pennington and the session pushed him to form the group. “I was at his studio, we caught this vibe, and it became the foundation of Inner City – the famous Inner City sound.” He would go on to describe how the track was different from anything else he was working on. “It wasn’t necessarily the darkest, most underground track that I’ve ever done, but it wasn’t commercial either. But these lyrics, and her melody, just sent it over the top. Her voice was just so unique, it was an instrument by itself.”

808 State helped draw attention to the burgeoning dance music scene in the UK in 1989 with the release of ‘Pacific State’, which was dreamy and soulful house music at its finest, The group, consisting of Graham Massey, Martin Price and Gerald Simpson (A Guy Called Gerald), got their name from the TR-808, but their use of the TR-909 gave ‘Pacific State’ the rhythm it needed to thrive. Today, they still break out the old gear during live performances, which shows relevant the equipment remains today. “Analogue’s kind of what the kids enjoy these days anyway,” said Gerald. “Everyone’s got a computer, so they want to see someone using the old stuff. For me it’s actually easier to use the old gear. I can do it with my eyes closed nowadays.”

In 1990, Joey Beltram burst onto the dance music circuit with his haunting house belter ‘Energy Flash’. The distinct clap is easily recognizable as being produced using the TR-909 and the overall vibe of the track transports the listener back to the earliest raves. In an interview, Beltram described what it was like showing the track to Renaat Vandepapeliere, head of R&S Records, at his studio in Belgium. "I was a little nervous—what if I don't deliver the goods?" said Beltram. "I actually prepared something to bring with me, so that if things didn't go well, I could pull something out of my bag and save the day. Things went... OK. But I did end up pulling out that prepared track—it was on a reel-to-reel—and he liked it. And that track was 'Energy Flash'."

Many would say that ‘Tears’ is the track that helped launch his career, but Robert Owens’ first venture into the spotlight came with ‘I’ll Be Your Friend’. Although he can also be credited with delivering one of the first house albums with Larry Heard in 1988, he really reached his stride when he linked up with Frankie Knuckles, David Morales and Satoshi Tomiie in New York to collaborate. Released in 1991, ‘I’ll Be Your Friend’ climbed the charts to become the #1 dance track in the world. Andy Caldwell of Soulstice fame would later name it as one of his favorite tracks to use the TR-909 and refer to it as “the house record to end all house records.”

‘Heliosphan’, the ambient ballad produced by Aphex Twin, drifts away from the house realm and delivers an inventive use of the TR-909 with breaks and subtle, intricate percussive elements. Found on ‘Selected Ambient Works 85-92’, his debut album released in 1992, the track was one of his earliest productions. As much of Aphex Twin’s material tends to have an analogue element, the TR-909 was a tool he used often and played an important role in the development of his sound.

Released in 1997, Daft Punk’s debut album ‘Homework’ introduced the world to the essence of French house. The fourth single off that record is ‘Revolution 909’, an iconic track that features the TR-909. Over the years many have imitated the distinct beat and it’s influence can be heard throughout the realm of house music today. When asked about the tracks opening skit, Thomas Bangalter expressed that the duo wanted the sequence to spotlight the French government and its negative view of rave and youth culture. “I don't think it's the music they're after, it's the parties,” explains Bangalter. “I don't know. They pretend it's drugs, but I don't think it's the only thing. There's drugs everywhere, but they probably wouldn't have a problem if the same thing was going on at a rock concert, because that's what they understand. They don't understand this music which is really violent and repetitive, which is house; they consider it dumb and stupid.”

When thinking about Bjork’s music, the TR-909 might not immediately come to mind. That being said, one of the most original and imaginative uses of the drum machine can be found on her track ‘Hunter’. “The idea of it being a Boleric beat was hers,” said engineer Markus Dravs on the development on the track with Bjork and Mark Bell. “But we tried different versions and I think it was Mark in the end who came up with the idea of just doing it on a 909. Then we all had a go on the filtering and played around with the decay of each individual drum." It’s difficult to find another track that uses the 909 in such a way and ‘Hunter’ follows suite with Bjork’s individual style.

Harrison is Mixmag's East Coast Editor. Follow him on Twitter here